As we get The Artist’s Magazine’s October issue ready for the printer, our September issue is on its way to you. If you're not a subscriber (you should be!), look for it on the newsstands August 11th.

In addition to over 300 workshop listings, the September issue has a marvelous article on a Dallas initiative that integrates the arts into the standard middle and upper school curriculum ("Kids Get Smart With Art," by Tucker Coombe). The premise is simple and incontestable: students learn best when they engage all aspects of their being: their bodies as well as their brains. Mathematical intervals make sense when you're dancing; optics, when you mix  colors of paint or play with stage lights. Read about arts initiatives across the country in the Wallace Foundation's report, produced by the RAND Corporation, "Revitalizing Arts Education through Community-Wide Coordination".

Reading Tucker Coombe’s article (and the tributes pouring in from former students of Frank McCourt) reminded me of the wonderful teachers who so influenced my life. In my letter from the editor in the September issue, I urged you drop a line to an art teacher you're grateful to. If you've lost touch, I invite you to post the letter here. Maybe it will find its way to her or him!

In our July/August issue we featured Antonio López García's transcendentally beautiful work ("Reality as Revelation" by Robert K. Carsten). At the most recent Christie's auction in London, Antonio López's Madrid desde Torres Blancas sold for $2,760,803—breaking previous records for this Spanish master. Madrid desde Torres Blancas is similar in tone and scope to View of Madrid from the Torres de Bomberos de Vallecas that appears in our article (see page 40 of the July-August issue).

Antonio García typically spends a decade on a painting. His work is painfully beautiful, as it records shifts in perception, as well as deliquescence, both inevitable with the passage of time. Robert Hughes has called Antonio "the greatest realist artist alive," and painters everywhere revere him. At a recent opening for Daniel Greene's pictures in pastel and oil at Miller Gallery (Daniel E. Greene was our judge in our annual competition's Still Life category), I ran into Jonathan Queen, a fabulously playful painter, who told me he and the equally talented Emil Robinson (whose portraits appeared in the April 2007 TAM) were planning to make a pilgrimage to Boston's Museum of Fine Arts to catch the rare retrospective of Antonio's work on view until July 27th. (As an analogue to that exhibition, the MFA is also showing El Greco to Velásquez: Art During the Reign of Philip III.)

The July-August 2008 issue is still on sale on newsstands, but if you want it—or the April 2007 issue featuring Emil's work—delivered, go to www.fwmagazines.com/category/the-artists-magazine to place an order.

At the foot of the Sierra Nevada Mountains and littered with casinos, chain restaurants, and strip malls, Reno may have seemed an unlikely place for a National Art Materials Trade Association (NAMTA) convention, but exhibitors and retailers alike proclaimed the success of the 2008 show. More than 200 exhibitors set up shop in the vast Reno/Sparks Convention Center April 30 through May 2. In addition to the booths showing all of the vendors’ wares, the Art Café, sponsored by Golden Artist’s Color, exhibited a range of works; most notable, at least for me, were intriguing prints by Karin Schminke. Among the many festive moments at the NAMTA trade show were a high tea, a tradition at Col Art; an open bar at Texas Art Supply, and a champagne toast at Daler-Rowney, which will celebrate its 225th year in business by launching an international art competition later this year.

Notebooks in hand, Jessica Canterbury, associate editor of The Pastel Journal and Watercolor Artist (read Jessica's own cool blog about our trip), and I roamed the aisles. It was a thrill, as always, to see artists at work: at Speedball, Franz Spohn was cutting and inking linoleum blocks; at Golden, Patti Brady showed how Golden’s Open acrylics stay wet for a longer period of time; at HK Holbein, painter Sean Dye and printmaker Pam Hudson demonstrated different uses for Holbein’s water-soluble oils. It was a delight, too, to come upon Wendy Hollender, at Faber-Castell, and look over her shoulder as she, reviving the English botanical tradition, used Faber-Castell colored pencils to draw tulips and lilies from life. At Logan Graphics, Eileen L. Hull was deftly cutting foamboard with an array of FoamWerks shaping and cutting tools,  designed for artists, architects, framers, photographers, 3-D model makers, and crafters.

A recurrent theme among manufacturers was the imperative to be eco-friendly, encapsulated in the saying, “Green is the new primary color.” At the retailers’ round table breakfast on Saturday morning, the talk was of ways companies could go green—in packaging, as well as in manufacturing products that do the environment and the artists who use them no harm. On the exhibition floor, two young artists created a dramatic mural with Plutonium G aerosol paints, which contain 70 percent pigment and 30 percent propellants and thus are considered “ozone-friendly.” Shawn Richeson of Jack Richeson & Company showed us a new line of easels made of lyptus wood imported from Brazil. In contrast to oak, lyptus, after being harvested, continues to grow. Indeed, the advantages of discovering renewable resources were manifest everywhere. Years ago Martin F. Weber introduced turpenoid natural and odorless turpentine; Strathmore Artist Papers, also a pioneer, introduced its first line of recycled artists papers in 1972. Strathmore’s newest paper, designed for use with charcoal, contains the tree-friendly fibers, cotton and hemp. In August, Fabriano will ship a beautiful white paper labeled “post-consumer product”—composed of recycled papers, manufactured using hydropower, and incorporating no animal sizing. 

Canson won the prize for the best (large company) display. Arttogo won a prize for the best new product: snazzy jewelry and ornament kits for kids. Among the other marvelous new products were Caran d’Ache’s lightfast colored pencils, Luminance 6901; Crea Arts' framed canvas that pops out of its frame; Da Vinci’s fluid acrylics; Golden’s digital gel medium that makes transferring images easy; Gamblin’s six  colors of etching inks; Richeson’s eight-piece-problem-solving pastel sets; Staedtler’s latest modeling clay, Efaplast Microwave; RGM’s versatile palette knives; Derwent‘s tinted charcoal, Liquitex’s acrylic inks, and Chroma's Atelier Interactive acrylics. At the Color Wheel booth, Jessica and I paged through an advance copy of Dan Barges’s Color is Everything, a guide to color in theory and in application, with a question and answer format enhanced by analyses of master painters’ palettes.

The day before the trade show opened, our own Tim Langlitz presented a lecture and demonstration entitled “The Nuts and Bolts of Online Marketing” to a packed house. Characteristically lucid and straightforward, Tim outlined concrete ways manufacturers can go about producing newsletters and launching sweepstakes. He also described how to find and use systems that measure and monitor online success. Sharing his Web expertise, Tim exemplified the collegial spirit and generosity that are everywhere apparent in the industry, but perhaps, most apparent at NAMTA convocations. Advertising director Jim McIntosh summed it up: “Great energy, great people, great new products—a fantastic industry.”